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    Movie review

    Zac Efron finds out war is hell in The Greatest Beer Run Ever

    Alex Bentley
    Sep 30, 2022 | 2:15 pm

    Longtime comedy writer/director Peter Farrelly duped a lot of people – though not this critic – with his first attempt at drama, 2018’s Green Book, for which he won Oscars for both Best Original Screenplay and, astoundingly, Best Picture. His follow-up film, The Greatest Beer Run Ever, is another film based on little-known history, with much stronger results.

    Chickie Donohue (Zac Efron) is kind of a ne’er-do-well in a 1967 Manhattan neighborhood, living at home and going down to his local bar on a daily basis to drink with his friends. There, he, his friends, and bar owner Doc Fiddler (Bill Murray) commiserate over the fate of the local men who are getting injured or dying in the Vietnam War. Though they hate what the men face, they mostly agree that the soldiers are doing their patriotic duty.

    On a drunken whim, Chickie – who has job as a merchant mariner – says he’s going to pay tribute to their friends by bringing them beer from back home. By hook or by crook, he actually manages to get over to Vietnam on a supply ship. But what starts out as a fun lark for the genial Chickie turns into an education about what war is actually like, how his friends are handling their deployments, and that governments may not be always telling the truth.

    Co-written with Farrelly by Brian Hayes Currie and Pete Jones, the film is a tale of two halves. The first 45 minutes or so is pretty goofy, as it sets up the story by showing the growing divide about the war, a serious topic that’s undercut by almost every character utilizing an over-the-top New York accent. Chickie’s apparent lack of concern about heading into a war zone also rubs the wrong way.

    But the film’s shift in tone once he gets to Vietnam is a welcome one, and helps to make sense of what the filmmakers were trying to accomplish in the beginning of the movie. As Chickie tries to track down the various guys from his neighborhood, his eyes are opened about the experience on the ground in a war. Chickie traveling in plain clothes gets him mistaken for a CIA agent, a falsehood he willingly goes along with until an encounter with a real CIA agent pulls the wool off his eyes once and for all.

    Farrelly appears to have matured as a filmmaker in the past four years. While he went for overly simplistic conflict and just as facile resolution in Green Book, he gets down and dirty in this film. He and his co-writers don’t pay lip service to the bad parts of war; they put Chickie right there in the middle of it all, witnessing atrocities firsthand. He’s not a soldier, so they don’t try to overplay their hand, but they give the film just enough intensity that the changes he experiences don’t feel tossed off.

    Of course, the film is “based on a true story,” so you know liberties were taken – would the number of beers he brought really last? – but they do an effective job of making eye-rolling moments relatively believable. Chickie’s interactions with his soldier friends have a good arc to them, as do his run-ins with in-country reporters like Coates (Russell Crowe). A late film sequence that finds the two of them running around Saigon while the city is under siege is one of the best the film has to offer.

    Efron, save perhaps for his turn as Ted Bundy in a Netflix film, has never been known for his dramatic chops. This role gives him the best of both worlds, allowing him to let loose and dig deep in equal measures, and he makes the most of it. Relative unknowns play his various friends, with the ones playing soldiers coming off the best. Murray and Crowe provide contrasting color to the film, and each is effective in their small amount of screentime.

    The Greatest Beer Run Ever is a nice step up for Farrelly and proof that there are still interesting ways to demonstrate that war is hell. The funny premise behind the film belies the seriousness with which it treats the larger issue at hand, a bait-and-switch that gives the story a gravitas you might not expect.

    ---

    The Greatest Beer Run Ever is now playing in theaters and streaming on Apple TV+.

    Zac Efron in The Greatest Beer Run Ever

    Photo courtesy of Apple TV+

    Zac Efron in The Greatest Beer Run Ever

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    Movie Review

    Podcaster lets creepy noises get under her skin in Undertone

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Nina Kiri in Undertone
    Photo courtsy of A24
    Nina Kiri in Undertone.

    While the horror genre is still capable of producing some innovative filmmaking, most of the output tends to fall back on jump scares and other tropes to deliver their terror. So when a film like the new Undertone tries something different, it should be applauded for the effort, even if it’s not as successful in its execution.

    Evy (Nina Kiri) is a podcaster who co-hosts a show called Undertone, which focuses on paranormal videos and sounds they find on the internet. Her co-host, Justin (Adam DiMarco), lives in London, so - for kind of contrived reasons - in order to make the time difference between them work, Evy records at around 3 am her time. Evy - who lives at home with her bedridden, dying mother - is the skeptic of the two, consistently debunking clips that Justin presents to her.

    Her doubts are tested when Justin brings in a series of 10 audio clips that purport to be about a boyfriend recording his girlfriend as she talks in her sleep. The audio begins in a lighthearted manner and quickly turns creepy and then sinister as unexplained things start happening. Evy senses that what she’s hearing is bleeding into her own world, especially when inexplicable actions take place in her mother’s bedroom.

    Written and directed by first-time feature filmmaker Ian Tuason, the film is effective early on when it introduces the story concept. Making great use of sound design, Tuason essentially puts the audience inside Evy’s head, where every little sound is heightened. Setting the podcast sessions in the middle of the night ups the anxiety level for both her and the audience.

    However, as the film goes along it gets a little tedious watching Evy listen to the audio, even as Tuason attempts to keep the film dynamic by moving the camera around her. The premise of the story - progressively going through 10 clips - and Tuason’s framing of shots that focus as much on the background as they do on Evy seem to promise more interesting results than actually transpire.

    What ultimately holds the film down more than anything is its lack of different viewpoints. The only other person who’s actually seen is Evy’s mother, who is unable to speak. Evy speaks to Justin, another friend, and a doctor over the course of the story, and while each broadens our understanding of Evy somewhat, none of them make her a truly three-dimensional person. Getting a little more information about her history might have helped the story work better.

    Kiri does her level best to vary her acting in the various podcast scenes, and even when they start to get repetitive, she remains compelling and watchable. It’s difficult to judge the other actors based on audio alone, but knowing that DiMarco also starred in season 2 of The White Lotus helps to visualize him and his acting style.

    Undertone does well in creating a spine-chilling mood, but it needed something beyond that to become a truly great horror movie. Tuason shows some promise as a filmmaker, especially in the way he uses the camera to create tension, but a more complete story will serve him better the next time around.

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    Undertone is now playing in theaters,

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